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Case Study #13
Case Study #14
White Mobile - Amek & Vanis
(Modena, Italy)
Mizuno Classic,
Mainichi Broadcasting System, Inc.
(Osaka, Japan)
OB Van / Processor
The Amek & Vanis White Mobile is a large outside-broadcast van
optimized for the recording and broadcasting of music events.
Within this van, a Yamaha DME24N is used for audio processing
and the selection of a range of monitoring signals in 5.1, 3.1,
Stereo+Sub, 2.0, and other formats.
A bank of twelve AD824s receives signals from outside sources,
converts them into ADAT format, and then routes them to a pair
of DM2000V2s configured in cascade mode. From these digital
production consoles' OMNI OUTs, the signals then go to the
DME24N, where they are processed and distributed to the van's
monitor speakers. And using a homemade GPI box integrated
with the DME, stored scenes and configurations can be easily
and rapidly recalled whenever needed.
Interface / CobraNet Network
Using a number of NHB32-C interface units, Mainichi
Broadcasting System (MBS) of Osaka, Japan digitally transfers
audio via CobraNet as part of its relay broadcasting of golf,
road races, and other sporting events. For example, at the
Mizuno Classic, held in November 2007, the broadcaster used
CobraNet to transfer no less than 96 channels of audio
between an outside audio broadcasting van and a relay
center.
Le Cercle Rouge (TSF)
(Paris, France)
The TSF group, founded by Thierry de Ségonzac, is the
European leader in its field, supplying cinema and television
production companies with everything they need for
production. In fact, seventeen of the films at this year’s
Cannes Film Festival were shot using TSF equipment.
When, early in 2007, TSF moved into a new, customized
building, Thierry de Ségonzac decided to build a state-of-art
projection room for 35-mm and 2K (soon to be 4K)
projectors. In Le Cercle Rouge, de Ségonzac successfully
achieved the "no compromise" room that he had been
seeking. Located on the second floor of the TSF building, it
features 126 Club Class seats and an 11.2-meter wide screen
in 2.35:1 format. To obtain the best possible sound and image
quality, de Ségonzac placed his trust in the ShowMax process
approved by acoustics engineer Pierre Vincent. Image quality
is already impressive in 2K digital cinema, and the even
higher quality 4K format is just around the corner.
At the heart of the audio installation is a Yamaha DME64N
processor operating at 24 bits/96 kHz to guarantee
uncompromising audio quality. "In my first systems”, explains
Pierre Vincent, “I had used a different digital processor from a
highly respectable manufacturer, but as soon as I changed to
the DME64N, the improvement in audio quality was obvious.
As far as I know, the DME is the only HD compliant digital
audio processor available today that's capable of processing
eight channels at 24/96 in accordance with the recommendations
of the Digital Cinema Initiative (DCI)."
The DME64N at Le Cercle Rouge works continuously at more
than 90% of its processing capacity. It is responsible for
32x32 grid functions, room compensation (X curve), and
active three-way bass/mid-range/treble filtering for all the
front channels and the delay (essential for digital cinema).
The digital mixing engine is fitted with two digital input
boards providing sixteen channels, and one of these is
allocated to the HD projector's digital server. In addition,
Surround & Processor
ShowMax Screen and DME64N
On its recent move to larger premises, the French cinema image and lighting-equipment hire group TSF built a
large "no compromise" projection room with the aim of full compatibility with traditional film and high-definition
video. The room – known as Le Cercle Rouge – features an 11.2-meter screen and a 16-kW ShowMax soundreproduction
system built around a Yamaha DME64N Digital Mixing Engine.
sixteen analog input channels are provided by two further
boards, one of which receives the output from the Dolby
Digital CP650 processor.
As the room must adapt to different sound-mixing standards
(5.1, 6.1, etc.) and the ten surround enclosures must switch
their sources accordingly, the DME64N also manages sixteen
different outputs. This has been easily realized by storing the
corresponding configurations within the DME, and a
conference preset has even been setup for times when Le
Cercle Rouge is used for this purpose. Furthermore, Vincent has
also configured the DME such that the room's overall sound
level can be controlled using the data wheel on the front panel.
As a result of this uncompromising approach, sound reproduction
in the room is amazing – far better than that in many
commercial cinemas. The bass seems to be unlimited, dialogue
has a rare precision and intelligibility, and the spatialization is
faultless. Even so, Pierre Vincent has more ideas for improvement:
"I am currently testing Yamaha amps in the Tn range as
they are said to be particularly suitable for this type of
installation".
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Case Study #15